DOCSLIB.ORG

Commercial Break: British Advertising on Screen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

L to R Anna Karina in Coca-Cola: Hey Coke – Masquerade Ball (1958), Egg Marketing Board: Tony Hancock Crossword (1966), Heinz Baked Beans, Common Market (1972) Commercial Break: British Advertising on Screen **NOW AVAILABLE FOR FREE ON BFI PLAYER** https://player.bfi.org.uk/free/collection/commercial-break-british-advertising-on-screen facebook.com/BritishFilmInstitute | twitter.com/bfi UNDER EMBARGO For release: 1 July 2019, London The BFI National Archive is home to one of the world’s largest screen advertising collections with over 100,000 cinema and television adverts ranging from the iconic and most recognisable brands including Guinness, Cadbury’s, Shell, Heinz, Persil, Hovis, Kelloggs and Coca-Cola to the obscure (Andrews Liver Salts or CDF Dogfood anyone?) Working with regional and national archive partners across the UK, the BFI has digitised 300 archive adverts all available for free on BFI Player. With the earliest advert on film dating from 1898 (Vinolia Soap) to the late 1980s, Commercial Break: British Advertising on Screen traces the history, overarching themes and development of the art of British screen advertising from its earliest days, finding maturity with the rise of the cinema in the 1930s and going on to transform the commercial television viewing experience with the launch of ITV in 1955 and subsequent growth of television. Providing snapshots of what we ate, how we travelled and the lives we all aspired to, this collection includes classic campaigns from the golden age of advertising in the 1970s and 1980s from the likes of Collett Dickenson Pearce (CDP) and J. Walter Thompson, featuring early work by Sir Ridley Scott The Boy on the Bike (1973), Hugh Hudson (Fiat Strada: Figaro, 1979) and Tony Scott (SAAB: New Delivery, 1985) which helped launch their Hollywood careers. The collection also showcases unexpected delights from established directors including Nicolas Roeg Guinness: Hop Farm (1974), Lindsay Anderson Black Magic: Taxi (1964), Joseph Losey Silvikrin Shampoo (1964) and theatre legend Joan Littlewood Egg Marketing Board: Sheila – series (1964), long after they ‘made it’ . Famous faces onscreen include Tony Hancock, Peter Cook and Dudley Moore, Sheila Sim, John Cleese, Ronnie Barker, Beryl Reid, Sammy Davis Jr, Googie Withers, Geoff Hurst, George Best and Margaret Lockwood as well as ‘before they were famous’ appearances by Anna Karina, Michael Caine and Terry Thomas. The female consumer has long been a target of screen advertising, selling everything from baked beans and washing powders to labour-saving devices to help lighten the domestic load. Interestingly, in a male dominated advertising industry, this collections tells (and sells) a more positive story of social progress for women, with increasing social and economic independence, tracking the ups and downs of female empowerment in the 20th century, with its false steps as revealing as its forward ones. BFI National Archive Curator Steve Foxon says, “There's an art to selling, as any ad man or woman will tell you. Britain's screen advertising has been a central part of the British film story since its earliest days, It found its feet in the cinema, transformed television and its ripples have even influenced Hollywood” Adding, “A perfect blend of nostalgia, salesmanship and craftsmanship, screen advertising at its best is incredibly potent, affecting our emotions as well as holding a mirror up to reflect society’s changing aspirations, values, fears and desires. Few films can capture all this in such a compact and expressive format.” Commercial Break: British Advertising on Screen highlights the evolution of the UK’s extraordinarily dynamic industry across the twentieth century, showcasing the astonishing variety of approaches, strategies and tricks advertisers have used over the decades for us to part us with our money, entertaining us even as they subtly manipulate us with promises of a new, tastier, brighter, cleaner, healthier and better lifestyle. In addition to the BFI Player collection, the BFI National Archive has lovingly remastered 24 iconic film adverts made by some of the most illustrious names in British cinema. Described by BFI Head Curator Robin Baker as “mini masterpieces of big nostalgic emotion” these fondly remembered titles have been restored in 4K and will be made available to view at BFI Mediatheque from July, as part of a tie-in advertising collection, to view in venue at BFI Southbank. EARLY PIONEERS OF SCREEN ADVERTISING Even before there were cinemas, screen advertising was a key part of the film going experience. With these earliest steps into screen advertising companies exploited the medium of moving pictures and learnt to mimic nascent film form in comedy, drama, documentary and even animation to feature their products centre-stage. Notable examples include: Rudge-Whitworth: Britain’s Best Bicycle (1901) A prototypical 30 second ad format and simple, effective message, sell us “Britain’s Best Bicycle” Dewar’s: The Spirit of his Forefathers (1900) (reissued as The Whiskey of His Ancestors in 1977) Decades before Harry Potter’s Hogwarts Gallery, a Laird’s ancestral portraits come to life to share a wee dram with their modern descendent. The Tale of the Amp Lion (1925). Cartoonist, illustrator and artist William Heath Robinson animates a gramophone speaker in what is believed to be his only foray into animation. Changing Hues (1922), Channelling Pretty in Pink innovative early film colour techniques bring ‘Twink’ clothes dyes to the big screen in this transformative love story. CINEMA ADVERTISING FINDS ITS VOICE The 1930s saw screen advertising find its voice at the cinema. This wasn't just down to the arrival of the 'talkies', but to the increasing professionalism of ad agencies and production companies involved. Through WWII and post-war austerity into the early 1950s, cinema advertising offered brands an opportunity to reach a captive audience. Adverts increasingly played on cinematic tropes to sell their products as big screen entertainment. Gibbs SR: The Warning (1941) Playing on film noir conventions this hugely elaborate mock-trailer for a thriller that never existed includes knife throwing, glamour, gangsters and sound dental advice. Co-operette (1938) Inspired by the bold and elegant big screen musicals of the period, dancing vegetables ‘cut a rug’ in this distinctively colourful mini-musical for the Co-op. Rinso: Little Miss Muddlehead (1943) Wartime patriotism is awash in this outlandish live-action cartoon. Miss Muddlehead is encouraged by a talking Rinso washing powder box to do her bit for the war effort to conserve fuel and defeat Hitler. THE BIRTH OF COMMERCIAL TELEVISION The launch of ITV on 22 September 1955 brought advertising to the small screen. Commercial television spread rapidly across the UK, inviting the salesperson directly into the living room of every home, and bringing with it a more intimate approach to screen advertising. This collection shows how some advertisers struggled to find the right voice and formats for the new medium, while others hit the ground running, A staple of commercial television in the early years the short-lived but extremely popular ‘Admag’ magazine format combined guest appearances and product promotion with practical household advice, ‘Admags’ were eventually banned after a report by the Pilkington Committee published in June 1962 stated that they blurred the distinction between programmes and adverts. FCB TV show No:1 (1955) and T.V. Talk – Lintas (1954). Ad agencies Foote Cone and Belding and Lintas came up example television schedules to persuade their clients what television screen advertising could look like, even going as far as making fake ads and programming. Ideal Home (1961) The only known surviving episode of classic ‘Admag’ Jim’s Inn (which ran for 300 episodes). Filmed ‘as live’ from the Olympia Ideal Home Exhibition, publican Jimmy visits the show to review some of the latest time-saving products on offer. At Home with Joy Shelton (1955) The actress brought a bit of glamour to the domestic setting of this ‘Admag’, including a tour of her own G Plan furniture range. Branston Pickle: Advertising Agency (1957) This perfectly formed campaign from the legendary Halas & Batchelor animation studio impart a concise and simple message in just 15 seconds Shell: Rough Running (1957) Larkin Studios used stylish, modernist graphics to show a car engine running roughly in this cutting edge animation for Supershell ICA petrol. FOOD GLORIOUS FOOD You are what you eat? Or at least that’s what we’ve been sold. Advertisers have long presented our food choices as much more than just a cure for hunger, but as a key lifestyle decision to keep you and your family happy, fit and healthy as well as saving you time and keeping you on the go. A smorgasbord of culinary delights, reflecting our national obsession with food, this collection charts our changing tastes and attitudes, stocking up our larders and freezers with reliable much-loved family favourites, indulgent treats and long forgotten culinary experiments. Youth Will Be Served (1933) Somewhat at odds with the public health films of today in tackling childhood obesity, Shooting Stars director Anthony Asquith’s dietary advice for Stork Margarine, promotes fat as a form of “sheer energy” in this depression era advert. Horlicks: Domestic Help (1952) A husband who is struggling to bring home the bacon is prescribed a cup of Horlicks to restore his spirits and with it a more traditional gender role (in)balance in this archetypal 1950s advert. Heinz Baked Beans: Common Market (1972) What could be more ‘British’ than a baked bean? Hopes and fears around Britain entering the European common market in 1972 manifested in many ways including this topical, opportunistic ad from Heinz Kelloggs Sugar Smacks: Space Mission Badges (1970) Fuelling children with a sugar- rush, space flight and moon landing fever made its way to the nation’s breakfast table.
Recommended publications
  • X********X************************************************** * Reproductions Supplied by EDRS Are the Best That Can Be Made * from the Original Document

    X********X************************************************** * Reproductions Supplied by EDRS Are the Best That Can Be Made * from the Original Document

    DOCUMENT RESUME ED 302 264 IR 052 601 AUTHOR Buckingham, Betty Jo, Ed. TITLE Iowa and Some Iowans. A Bibliography for Schools and Libraries. Third Edition. INSTITUTION Iowa State Dept. of Education, Des Moines. PUB DATE 88 NOTE 312p.; Fcr a supplement to the second edition, see ED 227 842. PUB TYPE Reference Materials Bibliographies (131) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS Annotated Bibllographies; *Authors; Books; Directories; Elementary Secondary Education; Fiction; History Instruction; Learning Resources Centers; *Local Color Writing; *Local History; Media Specialists; Nonfiction; School Libraries; *State History; United States History; United States Literature IDENTIFIERS *Iowa ABSTRACT Prepared primarily by the Iowa State Department of Education, this annotated bibliography of materials by Iowans or about Iowans is a revised tAird edition of the original 1969 publication. It both combines and expands the scope of the two major sections of previous editions, i.e., Iowan listory and literature, and out-of-print materials are included if judged to be of sufficient interest. Nonfiction materials are listed by Dewey subject classification and fiction in alphabetical order by author/artist. Biographies and autobiographies are entered under the subject of the work or in the 920s. Each entry includes the author(s), title, bibliographic information, interest and reading levels, cataloging information, and an annotation. Author, title, and subject indexes are provided, as well as a list of the people indicated in the bibliography who were born or have resided in Iowa or who were or are considered to be Iowan authors, musicians, artists, or other Iowan creators. Directories of periodicals and annuals, selected sources of Iowa government documents of general interest, and publishers and producers are also provided.
  • Widescreen Weekend 2008 Brochure (PDF)

    Widescreen Weekend 2008 Brochure (PDF)

    A5 Booklet_08:Layout 1 28/1/08 15:56 Page 41 THIS IS CINERAMA Friday 7 March Dirs. Merian C. Cooper, Michael Todd, Fred Rickey USA 1952 120 mins (U) The first 3-strip film made. This is the original Cinerama feature The Widescreen Weekend continues to welcome all which launched the widescreen those fans of large format and widescreen films – era, and is about as fun a piece of CinemaScope, VistaVision, 70mm, Cinerama and IMAX – Americana as you are ever likely and presents an array of past classics from the vaults of to see. More than a technological curio, it's a document of its era. the National Media Museum. A weekend to wallow in the nostalgic best of cinema. HAMLET (70mm) Sunday 9 March Widescreen Passes £70 / £45 Dir. Kenneth Branagh GB/USA 1996 242 mins (PG) Available from the box office 0870 70 10 200 Kenneth Branagh, Julie Christie, Derek Jacobi, Kate Winslet, Judi Patrons should note that tickets for 2001: A Space Odyssey are priced Dench, Charlton Heston at £10 or £7.50 concessions Anyone who has seen this Hamlet in 70mm knows there is no better-looking version in colour. The greatest of Kenneth Branagh’s many achievements so 61 far, he boldly presents the full text of Hamlet with an amazing cast of actors. STAR! (70mm) Saturday 8 March Dir. Robert Wise USA 1968 174 mins (U) Julie Andrews, Daniel Massey, Richard Crenna, Jenny Agutter Robert Wise followed his box office hits West Side Story and The Sound of Music with Star! Julie 62 63 Andrews returned to the screen as Gertrude Lawrence and the film charts her rise from the music hall to Broadway stardom.
  • Seville Film

    Seville Film

    SEVILLE IS CINEMA Seville is a city for recording films. Seville has been and continues to be the setting for many national and international television productions and series. We are very pleased to show you the tourist interest places of that have been the setting for these films, as well as information regarding them. How many times have you seen the Plaza de España in “Lawrence of Arabia” or in “Star Wars: Episode II”, and the Casa de Pilatos in “1492: Conquest of Paradise”? Come and visit these prominent landmarks in situ! The Real Alcázar The Real Alcázar is a monumental complex that date back to the Early Middle Ages, constituting the most important civil building in Seville. The surrounding walls, which can be admired from the Plaza del Triunfo, date from the early 10th century. The Patio del Yeso (Courtyard of the Plaster) belongs to the Almohad period between 1147 and 1237. Its ornamentation inspired later Nasrid architecture, but it was the Christian constructions that gave the complex its current appearance. The Gothic Palace, built during the reign of Alfonso X, has been modified due to the work carried out in the 16th century by the Lisbon earthquake of 1755. The most outstanding features in its rooms are the tiled plinths, the work of Cristóbal Augusta between 1577 and 1583, the set of 18th century tapestries depicting the Conquest of Tunis and the reproduction of the Virgin de La Antigua. The Courtroom, built in the middle of the 14th century during the reign of Alfonso XI, is the first example of the Mudejar style in this area, representing a perfect combination of the Islamic and Christian styles.
  • W Talking Pictures

    W Talking Pictures

    Wednesday 3 June at 20.30 (Part I) Wednesday 17 June at 20.30 Thursday 4 June at 20.30 (Part II) Francis Ford Coppola Ingmar Bergman Apocalypse Now (US) 1979 Fanny And Alexander (Sweden) 1982 “One of the great films of all time. It shames modern Hollywood’s “This exuberant, richly textured film, timidity. To watch it is to feel yourself lifted up to the heights where packed with life and incident, is the cinema can take you, but so rarely does.” (Roger Ebert, Chicago punctuated by a series of ritual family Sun-Times) “To look at APOCALYPSE NOW is to realize that most of us are gatherings for parties, funerals, weddings, fast forgetting what a movie looks like - a real movie, the last movie, and christenings. Ghosts are as corporeal an American masterpiece.” (Manohla Darghis, LA Weekly) “Remains a as living people. Seasons come and go; majestic explosion of pure cinema. It’s a hallucinatory poem of fear, tumultuous, traumatic events occur - projecting, in its scale and spirit, a messianic vision of human warfare Talking yet, as in a dream of childhood (the film’s stretched to the flashpoint of technological and moral breakdown.” perspective is that of Alexander), time is (Owen Gleiberman, Entertainment Weekly) “In spite of its limited oddly still.” (Philip French, The Observer) perspective on Vietnam, its churning, term-paperish exploration of “Emerges as a sumptuously produced Conrad and the near incoherence of its ending, it is a great movie. It Pictures period piece that is also a rich tapestry of grows richer and stranger with each viewing, and the restoration [in childhood memoirs and moods, fear and Redux] of scenes left in the cutting room two decades ago has only April - July 2009 fancy, employing all the manners and added to its sublimity.” (Dana Stevens, The New York Times) Audience means of the best of cinematic theatrical can choose the original version or the longer 2001 Redux version.
  • Sefete Hie COOLERATOR L.T. LAVAL in NEW MOVES to AVERT A

    Sefete Hie COOLERATOR L.T. LAVAL in NEW MOVES to AVERT A

    ^ i:;. MONDAY^ AUGUOT 26,1««.^ AVERAGE DAILY CmOTJLATIOM wearing a gingar crepe dress with for tbo Month of July, 16U ABOUT TOWN Manchester n TURN HALL BRINGS POLICE COURT brown accessories. They will be at ACCIDENTS RECORD PAINFUL FEET home after September 26 at Takoma Olovdy, probably ohowers tonight Park, Washington, D. C. Leg, Riiee and Back Aches Date Book Bfoceea of roatoriBB aore. pafn« 5 , 4 6 8 and Wedneoday morning; not nnirh A siMtlDr of tbe Rad Uen'a clatn Simon Hildebrand, 66, who Uvea fal, ahnaoS feet to aormal Old metk* Member ct the Audit change in temperatnre. $ 4 ,9 0 0 AT AUCTION In tbe rear of 55 Blasell street, was HERE NEAR P E R F E a o ^ do not toko into coBaJdrratloB bake committee will be beld to­ Bnroan of Otroolatlono night at the Red Men’i Social club Tonight fined 810 and coste for intoxication that BO two feet are oaanly alike, aot HOSPITAL NOTES ovcB tke rlRkl aod left foot of (h o on Bralnard place at 8 o'clock. The Aug. 26-81—Fourth annual Mar- In Town Court today. He waa ar­ aame peraoa. following are the committee mem- dl Gras o f Nutmeg Forest, No. 116, rested early Sunday morning by NORMAL S e n a ltivo narklBea a ho w aaaet e o n - (TWELVE PAGES) PRICE THREE CENTS ban; Nick TOvlgno, Francis Tour- Tall Cedars of Lebanon at Dougher­ Kerry Street Man Pnrehases Policeman Walter Cassells after he Fenders Bmnped In One at dItloB of eaek foot.
  • Teaching World History with Major Motion Pictures

    Teaching World History with Major Motion Pictures

    Social Education 76(1), pp 22–28 ©2012 National Council for the Social Studies The Reel History of the World: Teaching World History with Major Motion Pictures William Benedict Russell III n today’s society, film is a part of popular culture and is relevant to students’ as well as an explanation as to why the everyday lives. Most students spend over 7 hours a day using media (over 50 class will view the film. Ihours a week).1 Nearly 50 percent of students’ media use per day is devoted to Watching the Film. When students videos (film) and television. With the popularity and availability of film, it is natural are watching the film (in its entirety that teachers attempt to engage students with such a relevant medium. In fact, in or selected clips), ensure that they are a recent study of social studies teachers, 100 percent reported using film at least aware of what they should be paying once a month to help teach content.2 In a national study of 327 teachers, 69 percent particular attention to. Pause the film reported that they use some type of film/movie to help teach Holocaust content. to pose a question, provide background, The method of using film and the method of using firsthand accounts were tied for or make a connection with an earlier les- the number one method teachers use to teach Holocaust content.3 Furthermore, a son. Interrupting a showing (at least once) national survey of social studies teachers conducted in 2006, found that 63 percent subtly reminds students that the purpose of eighth-grade teachers reported using some type of video-based activity in the of this classroom activity is not entertain- last social studies class they taught.4 ment, but critical thinking.
  • «Itos a I Page 6 Oictif 1*Mb Television `Simpsons' Again Denied Shot at Comedy Category

    «Itos a I Page 6 Oictif 1*Mb Television `Simpsons' Again Denied Shot at Comedy Category

    Daily News L.A.LIFEThursday. February 20. 1992 Ccpyrlghl .0 1992 New tune Any way you slice it, Popeil will sing about it Page 5 Fashion Women right in style with that menswear look «itos a I Page 6 OiCtif 1*Mb Television `Simpsons' again denied shot at comedy category Page 24 Hollywood Gerald() delves sh Belle in "Beauty and the Beast" into Natalie Wood's death Highlights box: Page 25 —Streisand snubbed — 'Secret," Singleton make history Music —Caregory-by-category analysis — Let of nominees John Mellencamp — Full coverage begins on page 29 performs blah set to adoring fans Page 26 Annette Bening and Warren Beatty In "Bugsy," which led all films with 10 Oscar nominations. '12. • •• •• DAILY NEWS THLFWAY TEESUARY 20, 1992 LA. 1.11111-3 PAGE 3 .01""'N .si' ,NortN."4'6%. err ".avroe144 Page 3 Talk Line Were mar Me Academy of Motion Who could can forget the Picture Aru and Sciences folks are heartwarming story of a conniving dims Jeeping in this morning after drifter and his ever so cute "I could Wednesdays !JO a.01. command have played Annie on Broadway, if I terfirmance. had a better agent father" in "Curly But Page 3 Talk Line callers can't be Sue." The only downside of the picture was that Brian Dennehy wasn't in it. 'aught 'Winne. — }Lamy Fleckman Yen acre risk an top of the academy, North Hollywood astigating voters for slighting Barbra ;treatise!. heaping praise on "Beauty "I FK" represents the foss of and the Beam ' 'VFW" and 'The Prince S1101106 innocence and the last of the great if Tides." the films.
  • Jen Dennis Jen Dennis Is Executive Producer of Branded Content And

    Jen Dennis Jen Dennis Is Executive Producer of Branded Content And

    Jen Dennis Jen Dennis is Executive Producer of Branded Content and VR at RSA Films. Since joining the industry leading commercial production company in 2014, Jen has led such groundbreaking projects as The Martian VR Experience; it’s based on Ridley Scott’s critically acclaimed hit film The Martian, which was nominated for seven Oscars including Best Motion Picture of the Year. The Martian VR Experience is an unprecedented 25-minute immersive entertainment experience directed by Robert Stromberg that enables viewers to navigate the 360-degree landscape of Mars in the very capable spacesuit of stranded astronaut Mark Watney. Jen also executive produced the viral blockbuster web series “Margot vs Lily,” by Nike Women via Wieden + Kennedy. Directed by Tricia Brock, the eight-episode original series follows the adventures of two sisters who challenge each other to go beyond their comfort zones with some very creative New Year’s resolutions. Jen brings over 20 years global production experience to RSA. She began her career in her native New York as an agency producer at Messner Vetere Berger McNamee Schmetter (now RSCG) before moving to California. There she embarked upon a prolific 15-year freelance career that included many years in a fixed role with Wieden + Kennedy, producing all the Asia-Pac Nike business and eventually Nike Global work through the Portland office. The work took her around the world collaborating closely with celebrated athletes and icons such as LeBron James, Tiger Woods, Serena Williams, Roger Federer, Rick Ross, Samuel L. Jackson, Kobe Bryant, Spike Lee and many others. And many of those commercials garnered the industry’s top honors at Cannes, AICP and the One Show awards.
  • Montana Kaimin, February 27, 2019 Students of the University of Montana, Missoula

    Montana Kaimin, February 27, 2019 Students of the University of Montana, Missoula

    University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 2-27-2019 Montana Kaimin, February 27, 2019 Students of the University of Montana, Missoula Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Students of the University of Montana, Missoula, "Montana Kaimin, February 27, 2019" (2019). Montana Kaimin, 1898-present. 6985. https://scholarworks.umt.edu/studentnewspaper/6985 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Breakfast that buzzes?! Is eating bugs our only chance? by paul hamby OPINION Truth of addiction PAGE 13 NEWS UC greens keeper PAGE 14 SPORTS Griz-Cat weekend recap PAGE 30 Issue No. 19 February 27, 2019 KIOSK | CLASSIFIEDS & CONTENTS CONTENTS ON THE COVER PHOTOS ELI IMADALI, DESIGN DAYLIN SCOTT KIOSK 2 Help Wanted NEWS 4-8 PROGRAMMING 9 Opportunity Resources, Inc. is seeking individuals who want a meaningful job supporting EVENTS 10-11 Persons with Disabilities in Enhancing their Quality of Life. We have a variety of FT/PT regular OPINION 3, 12-13 positions $11.00/hr. and sub-positions $9.75/hr. that may fit your lifestyle. Evenings, Overnights FEATURE 14-17 & Weekend hours available. Excellent Benefits! Must Have: Valid Mt driver license, No history of MUSIC 18-19 neglect, abuse or exploitation.
  • 378 a Cinematic Soap Opera: Lever Brothers and the Use Of

    378 a Cinematic Soap Opera: Lever Brothers and the Use Of

    A Cinematic Soap Opera: Lever Brothers and the Use of Cinematography as a Promotional and Marketing Tool Jeannette Strickland, PhD student, Department of History, University of Liverpool, UK Unilever’s company historian claimed that radio and cinema advertising was not part of Lever Brothers/Unilever until the late 1930s (Wilson 1968). Despite the paucity of surviving archival sources it can be proved, however, that the company engaged with the new medium of cinematography from its earliest days. François-Henri Lavanchy-Clarke (1848-1922), who was coming towards the end of his life and reviewing his contribution to the development of cinematography as a marketing tool in Lever Brothers, proclaimed proudly to William Lever (1851-1925), the British soap manufacturer, “I procured you the first cinema”. This was in 1896, only months after the Lumière brothers perfected their techniques. Lever is renowned for his innovative approach to advertising and marketing and as a pioneer in creating brand identity, but what is not so well known is that he was one of the first businessmen to recognise the value of film as an advertising tool. It can even be claimed that a Lever Brothers’ product featured in the first ever example of product placement on film. Lavanchy-Clarke saw the promotional and marketing possibilities of cinematography from its very beginnings and persuaded Lever of its potential efficacy, utilising his connections with the Lumière brothers to source the equipment and make promotional films for Lever Brothers. Lavanchy-Clarke started with a spectacle at the International Exposition in Geneva in 1896, using a film of his own family washing clothes in a tub in their garden with boxes of Sunlight Soap placed prominently in the foreground.
  • 101 Films for Filmmakers

    101 Films for Filmmakers

    101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
  • Martin Phipps

    Martin Phipps

    MARTIN PHIPPS COMPOSER Coming from a musical background (he is Benjamin Britten’s godson), Martin read drama at Manchester University and fortunately for the acting profession, he decided to concentrate his energies on writing music. Since scoring his first TV drama, Eureka Street in 2002, he has won 2 BAFTAs, 5 Ivor Novello Awards and received multiple Emmy nominations for writing music to many of the most interesting series of recent years. These include the BBC’s War and PeaCe, Hugo Blick’s The Honourable Woman, Peaky Blinders, Black Mirror and season 3 & 4 of the Leftbank Pictures/Netflix series The Crown. Martin’s film credits include Woman In Gold (scored with Hans Zimmer), starring Ryan Reynolds and Helen Mirren, Fox Searchlight’s The Aftermath, starring Keira Knightley and Alexander Skarsgård, Harry Brown and Brighton Rock. Martin set up Mearl, a project to facilitate collaborations with other artists and composers, as well as a platform for developing his own material. Peaky Blinders was the first soundtrack written under this name, scored with a band of musicians from Radiohead’s new Laundry Studios in London Fields. FEATURE FILM THE AFTERMATH Fox Searchlight Pictures Director: James Kent Producers: Ridley Scott, Jack Arbuthnott, Malte Grunert Starring: Keira Knightley, Alexander Skarsgård WOMAN IN GOLD Origin Pictures / Weinstein Company Director: Simon Curtis Producer: Harvey Weinstein, Kris Thykier, David M Thompson, Christine Langan, Ed Rubin Starring: Helen Mirren, Ryan Reynolds, Jonathan Pryce, Katie Holmes, Charles Dance,